IRISH HERITAGE
The Queensland Irish Association - 'ltae Queen•!ew1 buh 41111AmatJoe
IPIIIP JE IIB t~ D
This community history evolved as part of a federally funded community history 'Work for the Dole' Project entitled "Irish Heritage". The project was sponsored by Community Employment Link Group Inc. and approved by Queensland Vocational Training College. Up to 15 Work for the Dole participants and a supervisor gathered for two days each week from late May until mid-November 2004 to work on gathering together a history of the Queensland Irish Association Pipe Band and Dancers.
The net was cast far and wide in the search for history, photographs, newspaper articles, memorabilia, stories and reminiscences for this book. I must particularly thank Kate Hartley for the Dancers and Hugh McClelland for the Pipe Band for putting up with my endless queries and editing demands. Others who deserve special thanks include Bill Hanley, Mary Cunningham, Leo Moloney, Joanne Steckelbruck, Brian O'Connor, Bradley Watson, and Nicky Thorne for taking the time to look through their photograph collections, to talk to me in their homes, and/or to write down reminiscences. Thanks also to Vicki Lynagh, Sheryl Watkins, Catherine-Ann Oxenham and Charmaine Chase for taking time ..out of their busy schedules at the August Feis to talk to me. Mick Silvester and Colin (Buzz) Ennis were very helpful with general queries, Rowan Swee for cartoons, and Paul Jones, Sally Van Roden, Debbie Kerswell, and Chris Bell saved my sanity with their IT support. And last, but certainly not least, thank you to all project participants for being a great group to work with - I wish you all good things for the future.
Particular thanks must also be extended to the Board of the Queensland Irish Assocation for their support and assistance, and to the Mt. Isa Irish Club for their kind donation to the project.
This history is by no means definitive, limited as it was by time and thus access to all possible records and memories. I hope the finished product goes some way towards documenting this history, giving a permanent record for any later histories that may be undertaken, and provides inspiration for a whole new generation of pipers, drummers and dancers at the QIA.
Helen Riley Project Supervisor 1st November, 2004
Thank you Mt. Isa Irish Club for your donation to support the printing of this booklet. The Association was formally established on March 23rd 1898, following the resignation, "en Masse" of the members of the 6 Companies of Queensland Irish Volunteers in the Queensland Land Defence Force.
Ex-members of the volunteers combined with the H.A.C.B.S. (Brisbane Branch of the Qld Hibernian Society) to found the new Association and the Inaugural Secretary of the Association was Major P.J. Stephens, former Commandant of the Irish Volunteers.
Premises to house the Association were first rented in Queen Street and later in the Courier Building (now the Commonwealth Bank in Brisbane CBD). The Association's current premises, Tara House, located on Elizabeth Street in the Brisbane CBD, were purchased in 1919. The building is now heritage listed.
Although there is no direct relationship, the Association can be regarded as a descendant of the Queensland Hibernian Association, which was founded in 1871, and the principles of the earlier Association are embodied in the Constitution of the Queensland Irish Association. Subsequently, the formation of the Queensland Irish Association is seen as being a natural progression from earlier Irish groups in the colony of the 19th Century.
The Queensland Irish Association is considered to be the longest continuously operating National Association in Queensland although its formation is pre-dated by that of the German Club.
The present premises in the heart of the city were purchased in 1919, occupied in 1923, with major extensions completed in 1928 and progressive modifications and refurbishment continue to meet the changing need of the members. Current premises Association policy has always been to support other organisations with Irish heritage or aspirations, but also to be a strong supporter of co-operation between all National & Ethnic Groups associated with the Association Associations. are - Bridge Club, TARA Singers, Cultural Committee, QIA Library, Tigh Gaelach Gourmet Club, Dancers, TARA Hall Dining Club, and Pipe Band. The Queensland Irish Association introduced Irish National Dancing to Queensland in 1958, when it sponsored a small group of members' daughters under the tuition of Mrs. Pearl Neilson, assisted by Mrs. Helen Smith (nee Henry), who later became tutor. Members of the QIA Pipe Band were instrumental in proposing this formation, as the Pipe Band felt that Dancers were a valuable adjunct to an Irish Pipe Band. As the Dancers grew in number and success, they became a separate entity in their own right - The QIA Dancers.
IGHT: Decked out In L-R: Clare Giammichele (Michelson), Elizabeth McCabe, Lea Campbell, Lynn Murphy, raditional irish dress, oropetitors face the Catherine Cunningham (Crocker), Debra McMackin, Shauna Daly, Kelsey Hegarty, judge at the Queens• Rachael Hocking - approximately 1976 [Photo Source: Mary Cunningham] and I r i s h Dancing hampionships. T h e ustralian champion hips will be held in ydney in September.
From the outset, the dancing class flourished. An Annual Championship, now known affectionately as the May Feis began in 1961, and attracted many interstate competitors. These dancers, who made a huge effort in travelling to Brisbane by train each year, were able to display their considerable talents and authentically embroidered costumes to local girls. The dancers are indebted to the Irish National Association, Sydney, and Ms Maureen Dwyer in particular, for assistance in these early days. Front Row L-R: Aileen Moloney, Lorraine Burns, Catherine-Ann Oxenham, Leanne Townsend, Karen Draper, Joanne Cook, Kerry Campbell, Maureen O'Connor, Shauna Daly, Rachael Hocking 2nd Row L-R: Lea Campbell, Elizabeth McCabe, Caroline Dryden, Caroline Hethorn, Peita Hanley, Joanne Cunningham, Lynda Burns, Maree Cunningham, Linda Law, Susan Hanley, Vicki Lynagh (Teacher) 3rd Row L-R: Janet Townsend, Debra McMackin, Therese Sullivan, Catherine Cunningham, Alison McCabe, Anne Moloney, Majella O'Neill, Cheryl Waterson, Michelle Struby, Lyn Murphy Back Row L-R: Kelsey Hegarty, Suzanne McMackin,Sharon Boyd, Eileen Lynch, Cathy Lynch, Tracey Hegarty, Anne Turnbull, Patsy Daly, Debbie Eklam, Alison Thurgate
[Photo source: Leo Moloney]
Initially, the QIA Dancers competed at local and state Eisteddfods in a separate Irish Dancing category. This proved to be less than satisfactory, however, as both the Highland and Irish dance categories were adjudicated by a Highland Dance judge. As more Irish dance competitors entered the Eisteddfods, this problem became exacerbated.
L-R: Joanne Cunningham (Senior)*, Maureen O'Connor (Minor)*, Anne Turnbull (Adult), Maree Cunningham (Intermediate), Kelsey Hegarty (Junior), at the State Championships at Ascot State School (approx, 1976)
*Currently IDC Adjudicators.
[Photo Source: Mary Cunningham]
Finally, the Australian Irish Dance Association (AIDA) was formally approached to form a Queensland branch and first Queensland Championships were held at Ascot State School in 1974. The Australian Irish Dancing Association and Ms Jan Currie, Sydney, must be thanked for their assistance and advice in recent years. Nonetheless, these Eisteddfods provided valuable experience for the early dancers. Many dancers were successful in winning bursaries that helped to pay for lesson and other costs. Joanne Cunningham (Steckelbruck) (18 yrs) contesting the senior section at the Queensland Irish Dancing Championships at Ascot State School in 1976.
Joanne was the senior champion in 1975
[Photo Sources: Mary Cunningham and Joanne Steckelbruck]
Catherine Oxenham (L) and Maree Cunningham (R) dancing at the Irish Club in the 1970's. [Photo Source: Mary Cunningham] Eight memben;, of ihe Queerniland Iri::.h A~!-lociatton flew to Melbourne today foe the nation.l.l h·ii,1h d~ncing champ1onsh1ps there tomorrow, Saturday and Su1~1.h~.v- 1'he girls are (clockwise) medallion~Y.ear1_11g Lw
Kate Hartley (Moloney) begci ii\, dci 11\,C,i..V\,g i..11\, 1ir1-2-73 cit tvie cige of s tJWrs joi..V\,i..11\,g vier vier e,ousi..11\,s, AV\,V\,e, ALLeeV\,, c;eoffretJ Cll/\,d Mi..e,vicieL MoLoV\,etJ. t-terfcitvier Leo MoLoV\,etJ ciLso cie,ted cis Presi..del/\,t of tvie Q.IA DClV\,e,ers for VIAClV\,tJ tJWrs. Fionna Wyse (Gaffney) Fi..OV\,V\,Cl Cll/\,d Kcite fi..rst V1Aet, fi..tti..11\,gLtJ, cit ci dcil/\,e,i..1/\,g GOVIA-peti..hol/\, i..11\, 13rs3 Cll/\,d vicive beel/\, fri,el/\,ds ever si..11\,e,e. Tviet) GOVIA-peted togetvier cit ciLL Levels of GOVIA-pehhol/\, ol/\,e of tvie vii..gviL[gvits bei..11\,g Clt tvie World CviClV1A-pi..ol/\,Svil-pS l,11\, 133-1.
Togetvier tvietJ vicive bee I/\, i..11\,voLved i..11\, VIAore di..s-pLci tJS tvici ii\, tvietJ would e,cire to reV1AeV1Aber fvoVIA dCll/\,Gi..11\,g cit NursLV\,g /-toV1Aes
'Fi~n,i11 Ulyu ner. (,:.f-1.ff,iry • Kale H.11tli-y Mt M4Ji,m,.y. Cll/\,d Se,viooL Fetes to bei..11\,g i..11\,voLved t,11\, tvie /11\,tere,eLtLe, FeshvciL Or.rtllthfOJ R111t.t 11<1 Cnlil!n,' 'Dub/I,. 1994. t,11\, L'ori..el/\,t i..11\, 1333 . Tvie bol/\,d betweel/\, tvie two i..s cis stvol/\,g todCltJ cis i..t wcis ciLL tviose tJeClrs cigo. Gary Daly c;cwtJ vicid extel/\,si..ve ex-peri..eV\,te cis ci dciV\,e,er wLtvi tvie Cosgri..ff S e,viooL i..11\, MeLbourV\,e botvi Nciti..oV\,ClLLtJ Cll/\,d /V\,tevV\,cihol/\,ciLLtJ. t-te tciugvit cit tvie Q.IA t,11\, two sti..11\,ts fov Cl totciL of3 t)ecirs i..11\, two sessi..ol/\,s. It wcis UV\,dev c;cirtJ'S tuteLcige tvicit tvie fi..vst TWVIA of dciV\,e, evs froVIA tvie Q.IA e,oV1A-peted cit tvie 2svi oi..recie,vitcis R.i..V\,e,e 11\,Cl crui..V\,V\,e (World cviciV1A-pi..oV\,s vii..-p s) vieLd i..11\, DubLi..11\, t,11\, 133-1. c;civt) wcis ciLwCltJS i..11\,terested i..V\, tcifzi..11\,g Oil\, 11\,ew e,viciLLel/\,ges, wvii,e,vi resulted i..11\, tvie dcil/\,ters bei,11\,g i..11\,voLved t,11\, Cl wi..de vciri..ettJ of ex-perLeV\,e,es froVIA dcil/\,e,i..11\,g cit tvi e More e rcites to -perforVIAi..11\,g wi..tvi tvie Po-ps ore,viestrci . t-te ciLso stcirted vii..s owl/\, dciV\,e,e GOVIAfCll/\,tJ, ceLti,e, Rvit1tviV1A, wvi[cvi gcive dcil/\,ters fvoVIA dLfferel/\,t se,viooLs tvie o-p-pourtul/\,LttJ to -perforVIA cit VIACll/\,tJ -prestLgLous evel/\,ts, sucvi cis tvie /11\,terl/\,Clhol/\,ClL Tcittoo ci s -pcirt of tvi e B, yi,sbciV\,e FestLvciL .
t-te i,s currel/\,tLtJ worfzi,11\,g cis tvie svel/\,ts Co-ovdi,11\,citor wLtvi tvie Austrci LLci ii\, B,ci LLet i..11\, MeLbourV\,e. (For VIAClV\,tJ of us vie wcis V1Aore tvicil/\, just Cl tecie,vier vie wcis Cl grecit fr[el/\,d Cll/\,d su-p-port) The art of irish dancing in Queensland has come a long way since the early founding days of the QIA Dancers. The commencement of QIA Irish Dancing classes in the 1950's was able to take place with the assistance of interstate and overseas teachers, and the dedication and hard work of many local people. As a result, state competitions frequently included dancers from locations as far-flung as Townsville, Mt Isa, Warwick, and other regional centers.
Warana Parade 1978
T erese Su ivan [Photo Source: Mary Back L-R: Tracy Hegarty, Eileen Lynch, Cathy Lynch, Vicki Lynagh * (Teacher) Front L-R: Lynda Burns, Maree Cunningham, Linda Law, Joanne Cunningham Currently an IDC Adjudicator
[Photo Source: Mary Cunningham]
The spread of Irish dancing across Queensland owes much to the dedication and success of early students and teachers, some of whom have moved on to establish other dance schools across Brisbane and Queensland. Past students and tutors of the QIA Dancers hcrve established such centres as Chase Academy of Irish Dance, Crocker School of Irish Dancing, Lynagh Studio, Watkins Academy, The Oxenham School of Irish Dancing, and Dancers Academy; and all have seen success to varying degrees in numerous state and national Irish Dancing championships.
Former and Current Teachers:
1958 Mrs. Pearl Neilson 1959 Helen Henry and Mrs. Pearl Neilson 1968-71 Mary Begley (assisted by Anne Begley and Vicki Lynagh) 1972-77 Vicki Lynagh (Cox) (assisted by Catherine Lynch) 1978-80 Charmaine Chase (assisted by Maree Cunningham and Tracey Hegarty) 1981-83 Joanne Stecklebruck (nee Cunningham) (assisted by Maree Cunningham and Tracey Hegarty) Oct 83-Feb 84 Yvette Jackson 1984-87 Gary Daly 1988-89 Fiona Brown 1990-91 Sheryl Chen (Watkins) 1992-96 Gary Daly 1997-2001 Kate Hartley* (nee Moloney) [assisted by Fionna Wyse (nee Gaffney). 2001-Current Kate Hartley & Anita Plaza The QIA Dancers' most high profile student to date, Sean Kelliher, is currently touring with Riverdance (pictured here when he was lead dancer for a performance in Brisbane in 2003). Between 1989 and 1997 Sean won the Australian Championships 5 times in different age groups, with a variety of teachers: Intermediate Boys 1989 (Fiona Brown), Senior Boys 1991 (Sheryl Watkins), Junior Mens 1993 (Gary Daly), Men 1996 (Gary Daly) and Senior Men 1997 (Kate Moloney).
The Under 16 Reel in Couple with Sean Kelliher and Prudence Hill (Watkins) also won the Australian Championships in 1991.
SnertJL WC!t~iv\.E (CneV\,) .stcirteo1 o(c;iV\,e,LV\,g wLtn tne QJA LV\, 1:j7S? ci V\,o( tvieV\, weV\,t OV\, to tecicn cit tne RIA froVvl 1.330 UV\,tLL 1:331.. Sne WOV\, tne "RueeV\, of ciLL NcitLoVl,.s" cit WClf'ClV\,Cl lV\, 1:jS?S wnere .sne re-pre.seV\,teo( tne lrL.sn club. A.s tne WlV\,V\,er, snert:JL receLveo1 ci trL-p over.srn.s wnLcn .svie u.seo1 to go to lreLciV\,o( for tne worLo( CV1ClV1AJlOV1,.SV1L-p.s [V\, 1:jS?b.
The winning 4-hand Own Choreography team 1982
L-R Mary McNamara (Clarris), Therese Sullivan, Catherine-Ann Oxenahm and Sheryl Chen (Watkins). Photo source: Joanne Steckelbruck]
Left - Competing at Australian Championships between 1980 and 1983. [Photo source: Joanne Steckelbruck]
The Under 13 Own Choreography Team with Assistant Teacher Maree Cunningham [Photo source: Joanne Steckelbruck] Dancers r epresenting all Sch ools at the Commonwealt h Games in Brisbane 1982 [Photo source: Kate Hartley] lRish dResses supp(ieR or lRish dance cost:umes er accessoRies
o Custom made desses fOR a(( age gRoups a: (evds Of competition o Ready to weaR dResses
o ORigina( designs - rnaditiona( to modeRn
o head peices, smocks ec dRess bags
1 o ~abRics, stin:enings, diamonties ec sequins
FOR moRe inFoRmation visic iRishdResses.com.au oR ea({ (07) 3369 0682 wvieV\, tvie Au.stvetl[etV\, Cvietv-u,p[oV\,.svi[p.s What Goes On Tour weve vielol [V\, Q.ueeV\,.slet V\,ol for tvie 2V\,d Hv-u,e Stays On Tour [V\,1:9 sy-tvi[.s wets b[g V\,ew.s [V\, "B>V'L.s betV\,e. A ..... Sometimes! fuV\,c,tfoV\,Wet .S vielol ettCLtt1 rtetllw[tvi et Ce[l[ to be vielol OV\, tvie Settuvolett1 V\,[gvit [V\, tvie tv[.s vi Club. Cvietvv-u,et[V\,e Cviet.se v-ev-u,ev-u,bev.s Kate Hartley (Moloney) tviett .s vie v-u,et ole et V\, ci V\,V\,OUV\,cev-u,eV\,t ett tvi[s recalls SKIPPY fuV\,ct[oV\, to tvie effect tviett evertJOV\,e wets welcov-u,e to ettteV\,d tvie C6lL "TVle club vietol V\,evev- seeV\, .so v-u,et V\,t1 people", .sci l:J S "At the Australian Championships in Melbourne, we were travelling in a station wagon with 8 Cvietv-v-u,et[V\,e. "'People were pusvi[V\,g otvier people in the back. This was before seat belts people up tvie froV\,t stciLrs wviLLst tviose had to be worn. Someone noticed that Ken [V\,s[de were be[V\,g pusvieol out tvie bcicr~. James (of Skippy fame) was driving the car door cit tvie s ci v-u,e t[v-u,e, ci V\,d Lt toolz two behind us. So of course, all 8 of us start hopping around (giving the car suspension a good test) vio urs to get Cl olr[V\,lz cittvie bcir". 1twcis V\,Ot doing Skippy impersonations." LoV\,g ci~ev- tviLs ex.per[eV\,ce tvicit tvie Club reet L[sed tv,e V\,ecess.Ltt1 for Cl V\, ex.teV\,s[oV\,.
Australian Championships 1990 - Sydney
Back Row - (L to R) Sheryl Watkins, Debbie Kelliher, Jennifer Cox, Sean Kelliher, Kathryn Morris, Geoffrey Moloney, Nicky Kelliher, Prudence Hill, Aileen Moloney Second Row - (L to R) Michelle Davidson, Carol Keane, Elizabeth Cox, Fionna Gaffney, Kate Moloney Front Row- (L to R) Rebecca Kirkwood, Kristy Hanna. The St. Patrick's Day float 2000 L-R Shae Rodden, Daniella Kelly & Gretel Harvey [Photo source: City News Thurs March 16, 2000
The Under 13 4-hand team at the 2004 Mid-Year Feis Emilee MacMahon, Kathleen Downey, Laura Greenhalgh, & Gretel Harvey
"vvvicit I C!Vl,,t gLcid of [5, Hwt I got to ex.-pevLeV\.,e,e 5,0 Vl,,tue,vi - dLffeveV\.,t tecie-viev5, ciLLowed for o!LffeveV\.,t 5,tt1Le5, of tecie-viLV\.,g CfV\.,d dciV\.,e,LV\.,g. Sol/l,,te weve quLte 5,tvLe-t OV\., fovV1,,t 1 wviLLe otvier.<;, Let t)OU u.<;,e CIV\.,d develop t)Ouv owl/\, e-veciHvLttJ. TiriL.s I fouV\.,o! to be tvie 1!1,,tOS,t vewci vd LV\.,g ci V\.,o! bvoug vit out S,Olil,,te -p vettt) .s-pee-tci e,uLci v Vl,,tOVe.<;, fvolil,,t u.<;, ci LL. DC!.V\.,e,[V\.,g ciL5,o irioV\.,eo! Vl,,ttl Lecidev5,iriL-p .sk:,LLL5, CfV\_,d VIC!$ tciugvit Vl,,te Vl,,tUCVi tvicit I vicive tcifzeV\., wLtvi Vl,,te LV\.,to wovk:, LLfe ClV\.,d VIOV1,,te LLfe CfV\_,d e5,-pee-LciLLtJ 'deciLLV\.,g wLH1 ci todo!Lev' LLfe vLgvit V\.,OW ...... fzee-p Lt fuV\.,, kee-p Lt LV\.,teve.<;,HV\.,g, CfV\_,d ciLwC!t)5' be opeV\., to V\.,ew ex-pevLeV\.,e,e.s wirievevev t)Ou WV\., get H1el/l,,t. wiricit ci gvecit LLfe !'Ve vicid wLtiri tvie Q..IA DciV\.,e,ev5, 1 NLC-RtJ TVIOYV\.,e (KeLLLiriev) Europe Day 2004 L-R Back Row Declan Kelly - Irish Ambassador to Australia, Amy Watson, Tammy Thompson,Charlotte Colchester, Tracey McGuinness, Anais Riley, Ray Hollis- Speaker of the House. Middle Row Cheree McMahon, Emilee MacMahon, Gretel Harvey, Front Row Erin McKaenzie, Daniel MacMahon, Tara McKenzie [Photo Source: Kate Hartley]
What Goes On Tour Stays On Tour ..... Sometimes!
Charmaine Chase recalls Adelaide
It was time for the Australian Irish Dancing Championships in Adelaide. Rory Hanley (son of Bill), a strapping young lad of 17 years was the only male amongst several young ladies representing Queensland. The accommodation organised for the female Dancers was in a forbidding old convent. Rory was snuck inside briefly, didn't say much (and then in a high pitched squeak), nodded politely and deftly avoided excommunication." DANCING DOWN MEMOR_Y LANE
Photo source: Joanne Steckelbruck ,..
"Travelling by PLANE to Adelaide for (my) first Australians, wearing a BOILER suit and maroon dancing blazer with embroidered pocket!"
"Being old enough and good enough to fill-in when the 'big girls' were learning their new choreographies".
"Learning a ribbon dance - what a great idea!"
"Winning first prize and $80 EACH at Cararra at our second international dancing competition on the Coast".
The stage collapsing on one side at one of the children's Christmas tree functions at the Club and the girls kept dancing as they slid off the stage.
Owen Keane's funeral when we were all guards of honour in our team dresses.
St. Patrick's Day Parade 1994 - dancing on the back of a truck without safety rails and having some hairy moments when the truck pulled up quickly or went up a hill.
Fionna Wyse's wedding - testing out all the different cocktails at the underages table! Oops [No names please !!!!!! ]
My own wedding [Nicky Thorne] with all the dancing crew (including Gary Daly, a previous teacher of mine) getting up to do mass 4 hands - while all the other guests were wondering what the heck we were doing and WHY!
Having the opportunity to dance for the President of Ireland on at least 3 occasions.
"Many, many car. bus. boat, plane and train trips with intimate chats, boy talk, girls talk, and various. b od"I I y f unc t·ions ...... say no more.I"
"Broken stages. broken bones and broken hearts!"
An airline strike - drawing the short end of the stick and having to bus it home from the Australians. The QIA Dancers' May Feis is the oldest continuously running Irish Dance competition in Queensland. This competition, currently run over 3 days in May, in the Tara Ballroom at Tara House, is unique in presenting gifts to place getters in every section. It also presents a number of perpetual and annual trophies, the awarding of which is highly prized. There are three major encouragement awards presented at the annual May Feis - the Flora Lynagh Memorial Trophy, the Kitty Lynch Memorial Trophy, and the Owen Keane Memorial Trophy. The first competition was danced on the floor of the Tara Ballroom. The following year a stage was hired and thereafter a stage was built from monies raised by the QIA Dancers. This stage was used for the May Feis and other events in the Irish Club until 1998, when a new stage was purchased. The old stage was used again when numbers entered in the competition required the need to have two stages running. One memorable year, the second stage was placed in the Four Provinces Room under the chandelier. A late night emergency job was required when it was discovered the dancers could hit their heads on the chandelier and it had to be [very carefully!] taken down. The first programs were hand written in an exercise book and parents were called in to help with everything and with few guidelines to follow. Parent/Secretary Mary Cunningham recalls that she was very unpopular the first year when she allocated a position to each dancer according to when their registration was received. This resulted in all competitors dancing in the same order for all dances ie first up on stage every time. This apparently caused quite a ruckus and a host of complaints from disgruntled teachers and parents.
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Spot the names!! .:l,ll..l,o,,~ ,,..... :/-,,,/.,,,,,.. l {~,,-W i t- These early competitions were very popular with interstate competitors, who significantly outnumbered local competitors. They often Apparently the first dancing dresses were travelled up by train, a not inconsiderable made by the wife/daughter?? of a Piper. Mary distance to travel for a dance competition. Shaw cut down some old kilts for the girls Apparently the attraction lay both in the to wear. These were so big and heavy that prizes offered by the QIA Dancers, which they had to be held up by braces and usually were purchased from Ireland especially for were positioned up under the girls' arms. A the competition each year, and in the social white blouse with a cuff on the bottom was life and friends made over the years. worn over this to hide the braces and keep everything in place.
Another story from these days concerns a persistent complaint from an interstate teacher (who shall not be named!) who believed the music was always too fast up in Queensland. She believed this was caused by Queensland electricity running faster than in New South Wales.
The Cunningham girls at an early May Feis L-R Joanne, Maree and Catherine
.',,SI Lci.shl/\,g v1.,eV\, .s~wp.s. Tvie Ro.se 1sowL II .,1, .d I,:! '1~,., ~
Pev-pet[.,,{_CfL Tvo-pvitJ fov seV\,Lov DC!V\,e,ev.s l_i_sf Pru.e I
..___., .. , . ''9h . , wci.s, C!V\,o/ L.s .shLL, exe,e-phol/\,C!LLtJ viLgviLtJ I , c- -~ '+ -pvLzeo/. The QIA Dancers gained valuable knowledge from the interstate dancers whose abilities in the early days so far exceeded their own. It took many years before local dancers started to win places in this competition, although there was a Queensland prize awarded in each section to encourage local competitors. It wasn't until a special Bi-centenary May Feis in 1970 that local dancers were sufficiently competitive to win prizes in normal competition. Queensland dancers have not looked back since then.
A number of International Judges have also adjudicated at May Feisanna. Dermott Pratt (New Zealand), Michael Maguire (England), Aine O'Shea (Ireland).
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Flora Lynagh Memorial Trophy Kitty Lynch Memorial Trophy This encouragement award has been named for a special lady who made a huge contribution to This award remembers Mrs. Catherine Lynch Irish Dancing in its early days, both at the QIA who was never known as anything other than and in Queensland generally. Flora Lynagh was 'Kitty' Lynch. The Lynch girls commenced their a musician and where there was Irish dancing, dancing when the original QIA teacher, Mrs. there was Flora, playing jigs and reels often Pearl Nielson was still the instructor over 40 on pianos lonQ past their prime. years ago. Kitty would have been involved as a helper from the beginning. She was unfailingly cheerful. She loved all the dancers and shared in their disappointments Kitty was a staunch supporter, not only of and triumphs, but she had a special place in her the QIA Dancers, but also of Irish Dancing heart for the young dancers who were trying generally. Everyone associated with Irish to cope with all aspects of dancing, elevation, Dancing lost an extremely loyal friend with posture, timing etc. Flora did everything she her passing. She was a founding member of the could to encourage the dancers and more Harp and Shamrock club and chief organiser than once the music kept the pace with the of their dancing competition of many years. dancer. Her particular delight was encouraging the This award encourages the winner and all the younger and less experienced dancers. Most dancers that have competed to work a Iittle current dancers would not remember her but harder, and listen to their teachers so that former dancers and many current teachers they can achieve their dream. will. It is appropriate to remember her with an encouragement award at the QIA May Feis.
Owen Keane Memorial Trophy
The Owen Keane Memorial trophy is awarded in dedication of the memory of Owen Keane - a young dancer from the QIA Dancers who unexpectedly died in 1991. He was an enthusiastic and eager member of the QIA Dancers during a period when Irish Dancing was seen as not being a particularly 'cool' thing to do. As a dancer he showed great ability and enjoyed both solo and team dancing. Irish Dancing combines artistry, grace, and physical ability. It has followed the Irish wherever they travelled. This brief history hopes to add to your enjoyment of the cultural aspect of Irish step dancing.
A major influence on Irish dance and Irish culture was the advent of the Dance Masters around 1750. A Dance Master typically travelled within a county, stopping for about six weeks in a village, staying with a hospitable family (who were honoured by their selection as host). These male teachers taught Irish dancing in kitchens, farm outbuildings, crossroads, or schools. Having a distinguished Dance Master associated with your village was a cause for pride and boasting within the community.
Each dance master had a repertoire of dance steps and new steps were created over time. Sometimes the masters danced competitively at feisianna, the winner being the one who knew the most steps, not the one with the best execution. The prize might have been gaining artistic control over a town in the loser's territory. Dance masters created the first schools of dancing, the best known being from Counties Kerry, Cork, and Limerick. It was these Dance Masters that created the set and ceili dances, and provided the platform for which the modern history of Irish Dancing is based.
The Modern history of Irish Dance begins in 1893 with the inception of the Gaelic League (Conradh na Gaeilge). This group encouraged the revival of Irish culture, which had been suppressed by the English for centuries. As part of this suppression, Set dancing was pushed aside and later 'outlawed', as it was seen as foreign, having originated centuries before in French Quadrilles. To replace it the Gaelic League introduced Ceili dancing, a form of dance which was considered to be more Irish. The League organized the first official Feis in 1897. These were almost always held outside, and involved competitions in all aspects of Irish culture, including music, dancing and language. The first Ceili officially organized by the Gaelic League was held in London in 1897. It was organized by the London branch of the league, which is known for its work to promote Irish dancing throughout Britain. The spread of Ceili dancing enjoyed a boom at the turn of the century, and lasted until the outbreak of Civil War in 1920.
In 1929, the Irish Dancing Commission was founded (An Coimisiun le Rinci Gaelacha) to establish rules regarding teaching, judging, and competitions; and to this day continues in that role. Prior to 1929, many local variations Irish dance has evolved in other ways during in dances, music, costumes and the rules of the 20th Century. Tuition is beginning at a feisianna existed. One of the Commission's younger age. Children as young as three or four roles was to implement standardisation of are now frequently found in dance classes, and competitions. the majority of dancers in competitions are fairly young. The gender of students has also changed from mostly mal~ to an overwhelming portion of females. Girls performing solos in competition were rare before the 1920s. Now both sexes dance Reels, Jigs and Hornpipes, although the Slip Jig is still only danced by A recent phenomenon that has provided the art of Irish Dancing with worldwide publicity has been the recent arrival of the productions of Riverdance and Lord of the Dance. These shows have bought Irish dance into the media, along with the portrayal of Irish music and During the latter part of the 20th Century dance by such groups as the Corrs. This has created another boom, with dancing classes :houg~, Irish dance has evolved in many ways, including the stages on which dances are across the world filling with new dancers. performed, costumes, and dance technique. There has also been an increase in the number For example, during the period of the Dance of boys. The shows have also given Irish Masters, stages were much smaller including ?ancers the opportunity to turn their hobby tabletops, half doors, and sometimes the into a career other than teaching, giving Irish "stage" was simply a crossroad. dance a more professional aspect. As a result of larger stages, the movement of da~cers across a stage has increased immensely If it's history is anything to go by, it is certain (a Judge would now subtract points if a dancer that Irish dance will continue to evolve and does not "use the stage"). Subsequently, change. However this happens, it seems certain dance movements have also changed, with the that Irish dance is here to stay. development of more advanced steps such as toeing stands and splitting leaps. Dance steps, such as "flying jumps", that require substantial space have also become possible.
Picture 1: courtesy of www.irelandseye.com/dance.htm Picture 2: courtesy of www.irelandsdance.com/history/dance.htm P~cture 3: courtesy of www.~embers.busynet.net/0557 / (An Conradh na Gaeilge) Picture 4. courtesy of www.1relandsdance.com/history/dance.htm The Queensland Irish Association is fortunate in having a Pipe Band that has represented it at hundreds of charitable and public functions over many years.
An Irish Pipe Band, with uniform of black tunic with white piping and dark green kilt, existed from 1919 until the 1939-1945 World War.
The QIA Pipe Band can be officially traced . , back to 1925, with references to the band's existence being reported in the QIA Financial report and articles featured in The Courier Mail. However, there is an undated report (believed to be 1935/36) of a statement by the then President, one Mr McGrath that a fully uniformed Pipe Band existed for the first time. A photograph of the band, dated 1939/40, includes the following personnel:
Drum Major L. Hevey, Drum Sgt. T. McCartney, Drum Cpl. I. Stewart, Drum Instructor J. McRobbie, Drummers K. Hollyoak, V. Frawkey, and S. Mellor; Pipe Major K. McCarthy, Pipe Sgt. R. Shaw, Pipe Cpl. L. Shaw, Pipers R. Mellor, K. Frawley, M. Henry, L. Moller, P. McCaffery, T. Byrne, and H. Rowe.
The Second World War saw the QIA Pipe Band put on ice until 1946, when the Pipe Band was re-formed for the first time after the war ended. The event that punctuated the QIA Pipe Band's reformation was the occasion of the association's annual St Patrick's Day Dinner, March 1946. The dinner was held in the Tara Ballroom - exactly the same room that the association currently celebrates in.
This reformed 'band' made up of about four pipers and two side drummers - Kevin McCarthy (Pipe Major), Bob Shaw, Jack O'Keefe, Jack Hocking (pipers),and Les Shaw and Cec Montgomery (side drummers). Only Pipe Major Kevin McCarthy appeared in pre-war uniform, which was a deep green kilt and plaid and hose; black Tunic with white pocket edges, white sword and waist belts; white spats and a black balmoral style head-dress. The remaining men were dressed in suits.
It was sometime between then and August-October 1946 that a recruitment drive became operational, offering membership to those who had some pipe band experience as well as welcoming interested novices. It was Kevin McCarthy, as the pre-war Pipe Major, who resumed control. He unbegrudgingly took on the immense task of teaching beginners how to learn the pipes. There were many established players in external bands that made no secret of the fact they thought such a task could not possibly succeed, believing one man alone could not take a handful of novices and make quality pipers of them. Marchers include Kevin McCarthy, Cec & Boyd _ Montgomery, John Hockings, Bob and Les Shaw
1948 St. Patrick', Day Parade, [Source: QIA Pipe Band]
John Hockings in the Band Room 2004 [Source: Helen Riley] ...
When filled, his class contained a total of eight He enlisted help from three other Brisbane students; and of those eight, those who could pipe bands. Consequently, the band was actually play the pipes amounted to Kevin, Les privileged to have the likes of Frank Kenny Shaw and his brother Bob, Jack O'Keefe, and (Brisbane Caledonian), George Lawrie and Billy Jack Hocking. Classes were sponsored by the McCormack (St Andrews), and Stan Hammond QIA and the band room was located in the (Australian Scots) taught them the art of basement under the association's rooms, next drumming. These men were side drummers of to a printing business. an exceptionally high standard.
Band practice was every Thursday evening However, it was the bass drummer, a very from 7:00pm - 10:00pm, but for some reason likeable man named Pat Flynn that was to activities seemed to slacken when 10:00pm inherit the absolute prince of bass drummers grew near and eyes began to drift towards the for his teacher. Pat was taught by the one and bar. When the band became more established only, the great Ken Free (Brisbane Caledonian). though, and practice was not to be stopped, Ken Free was regarded by everyone around one of the men would often make a journey as the best there was behind a bass drum up the stairs and re-appear with a jug in each and his grace, flourishing, timing and overall hand. Considerable skill was often shown in standard always drew praise, comment and coming back down the stairs - especially when prizes whenever his band competed. Such it was raining! was the class of Ken Free that he instilled a confidence and standard in Pat Flynn very few It was during this time that the band's drum other men could. team was also beginning to take shape. They had four trainee side drummers and a bass When Kevin decided it was time to try out the drummer. They too had to be ta.ught from pipers who could actually play a tune on the scratch but Kevin, through the Association, pipes together with the drummers, we would saw to it that they were to have Brisbane's form a circle on the concrete outside the best drummers for their teachers. band-room. Instruments that had remained silent through those years of war were in bad condition, especially the side drums - three Not long after this, David Lack & Co Melbourne of which were sent out for repair. But an ef were commissioned to provide a new uniform - fort was made and it was soon recognisable a kilt, plain dark green melton; scarlet tunies; they had a long way to go before a reason green plaids with gold trims, white goat hair able level could be achieved. Practice was re sporrans; white sword and waist belts and peated over and over, and whilst that seemed black balmoral headware. to work to a degree, when they were all to gether the obvious was plain to see - nothing was getting done at home! Tvie vio.se to-p.s weve vicill\,d R,11\,[tted bLJ Kevi,11\,'S, fi,cill\,cee, Cll/\,d Cl vii,gviLCJj/\,d dCJV\,CeY Two tunes had been selected, and they were j/\,CJV\;\,edjeCll/\,le Mci.s.seu, l,11\, tvie coLOl,{YS, of to be the only tunes that the band would play gveell\,, wvii,te Cll/\,d gold. D[ffi,e,l,{Ltu WCl.S for some time. The tunes were both 2/4's "The Minstrel Boy" and "The Rakes of Mal ex-pevi,ell\,ced i,11\, vicivi,11\,g .s-pcit.s V\;\,CJde, bl,{t ol/\,e low" (pronounced marl ow). of tvie bcil/\,d V\;\,eV\;\,bev'.s fcitviev.s, wvio wci.s ci cvii,ef wcivdev cit isoggo Rocid Jcii,L, -pl,{LLed By this stage in the band's existence, two Cl _c;tyi,11\,g DY two Cl 11\,d, Cl.S Cl ye_c;l,,(_Lt tvieu weve important decisions had were made: (1) Aus V\;\,CJde bLJ tvie -pvi,.c;oV\,eY.s i,11\, 011\,e of tvie .svio-p.s tralia Day 1948 - the band's initial public ap i,11\,.c;i,de tvie jci[L. pearance; and (2) and additional practice was going to start - Sunday mornings on the oval of St Laurence's College at South Brisbane.
1949 Anzac Parade, Elizabeth St.
1965 QIA Ballroom 1969 QIA Ballroom By 1973, the band had risen from C Grade to become one of the best in Australia.
The skilled tuition of "Sandy" Campbell, who became Pipe Major 1971, raised the standard of the Pipers and Drummers. Sandy, who was Pipe Major of the Australian Championship Band, Red Hackle, began tutoring some learners in the ballroom and eventually left the Red Hackle. He was persuaded to provide his services and expertise to the Irish Pipe Band. He soon attracted new bandsmen and a host of learners.
Warana Parade North Quay 1963
As a result of his leadership QIA No 1 Band won the first grade at the Queensland Championships held in Mackay Easter 1973. The QIA No. 2 Band also won the Grade 2 Championships. Th is success provided the incentive for Sandy to take on the strong inter-state bands, with much success ,..
1974 Alex Duthart (reputedly the world's best side drummer) with the IRISH on tour (Melbourne)
Under Sandy's tough leadership the standard of the band reached a peak in 1976 when the Band won its first Grade 1 Australian Championship, with the QIA No. 2 band coming second in the Grade 2 Championships. With such success came an influx of learners and new band personnel, resulting in the formation of a 3rd Irish band. A highlight of this period occurred in 1982 at the Australian Championships in Melbourne. The Band came 3rd in Grade 1, and 2nd in both Grade 2 and Grade 3. At the conclusion of the contest, all three bands combined and marched off as one band. Competing bands from all States were overawed by the "Green Machine" as they became known. A tour overseas in 1976 to Scotland was followed by further tours to Ireland and Scotland in 1978 and 1981 and again in 1985, which included the first visit by an Australian Band to the Brittany Festival - Festival Inter Celtique de Lorient - in France. Fundraising was a key feature of this period with the very popular Celtic Sundays at the Irish Club raising much needed funds.
1972
The Brittany Festival welcomed the QIA Pipers with the "type of fanfare usually reserved for visiting rock idols (Sunday Mail Colour July 6 1986)". The 36 members No. 2 band, nicknamed 'Les Kangourous' by the French won rave reviews.
1978 World Champions Grade 2 1985 "Flying the Flag" - The Qantas Days
1985 was another successful year for the band. The No. 1 Band led by Pipe Major Roddy Campbell, Drum Sergeant Jon Jones and Music Director Sandy Campbell toured Ireland playing in contests at Bangor and Durrow, and then in Scotland. Here they played in the World, European and several local Championships with many wins and placings, winning the renowned Alec Duthart Drumming Shield. Despite not completing the full season the Band missed winning "Champion of Champions Grade II" by only one point!. The QIA Pipe Band was upgraded to Grade 1 for the following season
The No. 2 Band led by Pipe Major George Leask and Drum Sergeant Ainslie Rowland toured Ireland and Scotland and was the first Australian Pipe Band to be invited to and play at the Pan Celtic Festival in Lorient, Brittany. According to the band's secretary-manager, Bill Hanley, the band returned from this 1985 tour laden with so many trophies "they couldn't get them on the plane". None was more prized, however, than the prestigious Cowal Trophy. This silver shield was first presented at Dunoon on the west coast of Scotland near Glasgow in 1919.
This overseas tour established the Queensland Irish Pipe Band among the top 12 pipe bands in the world.
The band played in Geelong, Victoria and in Sydney in the following years, and toured New
Zealand in 1988 and 1990 winning ASOVE : P,pc, band mombeta JMrfotm • ABOVE: Pipors O•~ !Iott) and Des sr•d,~ Mloctlon, OQfflJ)ris.ing a march, • Pufltft tuno thO pip and m.oi.ston the the championship at Rotaroa. j str• ttui>ov (donte 1,-) ..,d • roel. Htebbcfote gtoplr;.
Doomben Races 1985 [Photo Source: QIA Pipe Band]
Ref er to Supplement at end of book for competition results for this period.
VE: Sil HankJv, Irish Pipe Band ~,ecre- Sunday Mail 1986 -manager, 9l't:. last-minute spruce 14> [Photo source: Bi II Hanly] c___frcm__ his_ "_fnsll__ darl__ .o_:ier_dD____,,"---te,-_P_iet:J_. _ __, San d Y Campbell ,,..
Mark MacKenzie took over as Pipe Major of the Band in 1994, and with Pipe Sergeant Mal colm Ketchon introduced the concert element into the band with great success in Brisbane, Glen Innes and Maryborough.
Pipe Major Mark MacKenzie in the Tara Ballroom
The Pipe Band wins 1st place in March,Strathspy and Reel at the McLean Highland Gathering 2001
The band marching in the McLean (NSW) Highland Gathering Street march, Easter 2001. The band is lead here by DM David Booth (Life member and No 1 DM Brian O'Connor absent) [Source: QIA Pipe Band] New Zealand 1985 or 1986 Newstead Park 1986 Commemorating the Battle of the Coral Sea [Photo source: QIA Pipe Band]
The QIA Pipe Band
is currently seeking learners and new members of any age.
Bag Pipe and Drumming Tuition FREE OF CHARGE Contact Band Secretary: Mark Barrie ph: 0417 072243 Email: [email protected] or inquire at the Irish Club Debutante Ball Brian O'Connor and David Booth in the 1980's ' .
The Pipe Band and Dancers celebrate Sir Charles Kingsford Smith's historic crossing of the Atlantic from Ireland to Newfoundland At Brisbane airport 'Southern Cross Memorial' in 2000. Bass Drone lsACj AND l,,tlLL SA N PIP SS
A vcivLett-j of Lvv;tn,{VvleV\,ts ewe -pLcit-j ed ci t Cl feL s LV\,dudLV\,g fLddLes, cie,e,ordLoV\,s, ClV\,d flutes, A trcidLtLoV\,ciL LV\,s truVvle V\,t rci reL tJ see V\, cit ci f eLs Ls tvi e I rLs vi uLLLeci V\, -pL-pe, It Ls Cl e,oVvl-pLLwted beLLows-bLowV\, LV\,struVvleV\,t tvicit dLffers froVvl tvi e Vvlore ofeV\, seeV\, s wttLsvi HLgviLci V\,d bcig-pL-p es,
A HISTORY OF THE BAGPIPES
Contrary to popular belief, the bagpipes are not of Scottish or Irish origin. The first version of the instrument can be traced back to the Middle East several centuries before the birth of Christ.
It was most likely a rather crude instrument comprised of reeds stuck into a goatskin bag. As civilization spread throughout the Middle East and into the Mediterranean lands, the people brought along their music. It is generally believed that village musicians used the pipes along with drums for entertainment. The instruments also contributed to other facets of community life, such as the burying of the dead.
Some of their instruments were adaptations of the early bagpipe. Instrument sophistication grew with time, as reeds were replaced with the hollowed leg bones of small grazing animals. Holes drilled into the bones allowed the musicians to vary tones and pitch. Along with their trumpets and drums, the Romans carried with them their pipes. The legions spread the popularity of the instrument throughout Europe, eventually ending up in the British Isles.
It was in the evergreen landscapes of Scotland and Ireland that the pipes reached their highest level of popularity. During the 14th century, the bagpipes could be found in nearly every village. In addition to providing music for enjoyment, bagpipes were also used to rally the clans to battle, usually against the English. The English found the pipes so disturbing that they banned the Scots and the Irish from playing them at any time. Yet, that didn't stop their use. Over the years, the bagpipes grew in sophistication. More pipes were added, enabling the musician to reach a wider range of notes.
Mournful tunes were frequently played on the pipes following the death of a warrior. Villagers would gather around the body of their dead comrade while the piper stood some distance away (one gets a picture that the piper stood alone atop a naked hill, sun setting - or rising - behind him). It was said that the music was a sign to God that a brave and loyal subject was on his way to sit at "the steps of the throne."
The bagpipe was introduced to the other parts of the world during the great migration westward. British soldiers were led into battle by pipers and drummers. As the battle began, the musicians swung off to the side, encouraging the soldiers to fight on. Songs of past victories were carried on the breeze over the battlefield, reminding the soldiers of their heroic legacies.
During the great Irish potato famine of the 1840's, hundreds of thousands of Irish nationals left their homes for the promise of a better life in America. During the terrible voyage across the Northern Atlantic, the only respite was their music. '. Bagpipes, flutes and drums brought back memories of their heritage, and when they could, they sang and danced to the tunes. Their music also mourned fellow travellers who fell sick and died along the way.
A HISTORY OF THE UILLEANN PIPES
There is some speculation as to the origins of the Irish pipes. The first bagpipes in Ireland were probably more like the Highland pipes that are now native to Scotland. This would be the ancient Irish pipes, or, what some call the WarPipes. Medieval times may have seen the development of an Irish pipe more like the Scottish Smallpipe, called the Chuisleann. This in a closed, partially staccato style, whereas was a bellows blown bagpipe with a cylindrical the Scottish Pastoral Pipes are played in an bored chanter and two or three drones in a open, legato style. This occurred, roughly, common stock. around the 18th and early 19th century.
There are references to Piping in Ireland This early form of the Uilleann Pipes was going back 13 Centuries. The earliest of these played relatively unchanged until the late references are in the ancient law tracts and 19th century. Early Uilleann Pipes (or "Union annals. There are carved depictions of early Pipes as they were called) were flat pitched. pipes on some Celtic Crosses (probably 10th They were usually pitched around B up to Century) and from the 15th Century onwards perhaps C sharp. Around the turn of the the references are more frequent. Before the century, pipemakers began to make what are 18th century all references to pipes relate to now called "Concert Pitched" Uilleann Pipes. mouth-blown instruments. The Concert pitched set were, and still are, pitched in the key of D, and are somewhat The distinctively Irish form of bagpipe, brighter and louder in tone. the Union or Uilleann Pipes, is believed to have originated between the 16th and 18th A few great makers in the mid 20th century Centuries, although no exact source of were instrumental in keeping the instrument development has been found. It is thought from dying out due to the modernization of the name 'Union Pipes' refer to the union of music and the instruments popular music is sound produced by Chanter, Drones, and played on. The 1960's and the 1970's, on to the Regulators. Another theory is that 'Union' is present, saw resurgence in popularity of the a corruption of the Irish word 'Uilleann' which Uilleann Pipes, thanks to several traditionally means elbow. This fits the change from mouth based Irish musical groups that had the blown to bellows driven Pipes, the bellows foresight to record and tour. Also, with great being powered by the elbow. gratitude from all who love the pipes, . to the pioneering organizations in Ireland who kept The Scottish "Pastoral Pipes" may have inspired the music and the pipes from becoming an the current form of the Irish Uilleann Pipes. anachronism. The pastoral pipes are bellows blown and played in a seated position. The conical bored chanter is played open along with 3 drones and (as with most examples of the instrument) 1 regulator. The major difference between the two pipes being that the Uilleann Pipe chanter is played
Pipe Major Jeff Goward led the pipe band when they travelled to the Festival De Lorient in Brittany, France in 1999, followed by a tour to Scotland and Ireland where they played at the 'Rose of Tralee' finals and fester vial. A contingent of QIA Dancers and two Highland Dancers accompanied the band.
Fundraising for the tour to Brittany on the 'Island' - a cruise up the Brisbane River early 1999 Traditionally, France bas always been a country of many festivals: classical, [Photo source: Kate Hartley and Leo Moloney] baroque, musicals, jazz, cinema, etc ... In this environment, the Interceltic Festival is unique, open, international and a gathering place to voice the contemporary expression of Celtic culture. The Interceltic Festival cross cuts all forms of music of Celtic origin, from thousand-year-old traditional songs to folk, rock, jazz, and symphonic works, all in an extremely prolific creative environment. Alongside music, there are cinema, painters, sculptors, dance, history, literature, musical instrument making, showcase events A group photo from Lorient and more. The Dancers and Band performed at 10.30pm for 4 nights at the Night Magic Concerts in the Pare due
The Dancers (below sheltering from the rain before performing) Moustoir stadium. The include: Dancers were featured each L-R Kate McGrath, Prudence Hill, Nicky Kelliher, Kristy Hanna,Triona of these nights. Lee, and Fionna Wuse. Festival Magazine
Photo below: Place Nayel Cabaret Pipes, Drums and Dancers
All photos courtesy of Kate Hartley
There was plenty of time for parades and fun! Grand Parade des Nations Celtes Photo left: L-R Fionna Wyse (Gaffney), Kate Moloney (Hartley), Stephanie Rossiter, Kristy Hanna, Triana Lee, Prudence Hill, Kylie Phillips, Nicky Kelliher The Pipe Band and Dancers celebrate St Patrick's Day
THE ORICilNS OF SAI N T PATRICK'S DAY
SClLV\.,t "PCltv{e,fz's DCltJ VlClS C,OV¾e to be Clssoe,Lnted wLtvi evevutviLV\.,g lrLsvi : ClV\.,tJtVlLV\.,g greeV\., ClV\.,d gold, SVlClVvlVOGRS n V\.,d Ll,,{e,k:, _Most LVvl-portn V\.,tLtJ, to tviose wvio ceLebvnte Lts i.V\.,teV\.,ded Vvlen V\.,LV\.,g, st. PntrLe,fz's Dn tJ Ls ci trcidLhoV\.,ciL dci tJ fov s-pLrLtl,,{Cl L veV\.,ewn L Cl V\.,d offevLV\.,g -prci uers for VvlLssLoV\.,Cl vLes wovLdwLde. Tvie I rLsvi ci ve dese,eV\.,dn V\.,ts of tvie QV\.,e,LeV\.,t ceLts, bl,,{t tvie vLfzLV\.,gs, NovVvlClV\.,s ciV\.,d cV\.,gLi.svi e,oV\.,tvLbl,,{ted to tvie etviV\.,Le, V\.,Cltl,,{ve of tvie -peo-pLe . ceV\.,tl,,{rLes of cV\.,gLLsvi Vl,,{Le LcivgeLtJ eLLVvlLV\.,cited tvie l,,{se of tvie nV\.,e,LeV\.,t c;cieLLc, ov 1vLsvi, LciV\.,gl,,{cige . Most lrLsvi nve eLtvier CntvioLLe,s ov PvotestnV\.,ts (AV\.,gLLwV\.,s, VvleVvlbevs of tvie Cvil,,{ve,vi of cV\.,gLciV\.,d) .
So, WVl tJ Ls Lt e,eLebvnted OV\., MC! rcvi 1.7-tvi? QV\.,e tvieovu Ls tvicit tvicit i.s tvie dcitJ tvicit st. PntrLe,fz dLed . sLV\.,e,e THURSDAY, MARCH 17, 1977 tvie vioLLdcitJ begciV\., LV\., lreLciV\.,d, Lt Ls beLLeved tvicit cis CEILIDH tvie lrLsvi s-pvecid ol,,{t nvwV\.,d tvie wovLd, tviet! took:, wLtvi St. Patrick FLING . .. tvieVvl tvieLv viLstovtJ ClV\.,d ceLebrcitLoV\.,s . Tvie bLggest obsevvnV\.,e,e of ciLL Ls, of e,ol,,{rse, LV\., lveLciV\.,d . wLtvi tvie exce-ptLoV\., of restCll,,{Y-ClV\.,ts ClV\.,d -pl,,{bs, ciLVvlost ciLL on he bl,,{sLV\.,esses close OV\., Mnvcvi 1.7-tvi . 1seLV\.,g n veLLgLol,,{s vioLLdci tJ cis weLL, VvlCl V\.,tJ I rLsvi ntteV\.,d V¾Clss, wvieve ski s? 11' WILL :\OT be su- !1 a ;:-reat duy for the Mnvcvi 1.7-tvi Ls tvie tvcidLhoV\.,ClL dCltJ fov offevLV\.,g ln~h tod.1y .. lndiC:tt:0lt\ tire- that Fa ;, rr Ti!n:11!'!:s. old ch.-,,rmf,r of ~nl'l'.t \fti.Jl"l'tn.SII or '1:!' Oh -pvci tJ ers fov V\!\.LssLoV\.,Cl vLes wovLdwLde befove tvie sevLol,,{s f:.t. P:ur;ck. i\.l'.- ::lipped a l<',(.(' F'a: iwr.; a1, Ed.glc bn ,n ;,he pnpulartt.i J:mct10n ::n1ct he thuu:.:ln ;;.,<,;(' ean or nw an<,\\f'l" l:,y ceLebvcitLV\.,g begLV\.,s . Fa : l1 f' : PA ·1 I ·,1:h thf' :111!111.:, 01 nu )kL.1d1i:111 of l.!!£" Ca:ho4 ii'. ra.n:..~ to Aw,tralia. h" \!.-11,.~ \llectia otflrt" '•\V1.tJ1 !,he m1x,ure of smii V(''>lndll\' tnat a., fat r:tt·"~ manr or Lhe oid a_~ he !:nf'w the:-e wne lra.dHll)flS h;1•·e had 10 fe\\ ceJebrau'.ln.~. rlinnrr· g:l\f' wa_y to the new," he or specrnl plans !<.or .St. said. Pa trir-k·_,, Day. Ca.thOilC sc!mokh:1- drpn cant. even claim a d.f'tr otf' A change Tlw Qut>eus1and Irhh 1'' a, : h e r McDetTilOtt, Assocmtmn, however. "-.'ho still sp.,rts :1. stron~ won·t be forzemni SL. Jnsh broin,1e alter 27 PM. years in Austraha. said probably the number o!" · Druwin~ p e o p I e attending this !l.'lwy h:>V" plarnt>d a monimg's Ylas.5 would be Ceilidh 1:1.n mfnrm:i.l Cei~ 5Jl~ht!r increased. tiC ,ovenmr.: ,,, mm,1<'• "When t,he Church ca e\ emr:c .omzht at thPi:· lPndar was l'httn1?ed, St. EhzabPth Stref't pr,..nn P<; Pat-nck's Day was one or '\\ 1th what tliey clR-tm 10 the H(,!y Day.s of Obli~a be BrL~bane·.~ onlr r 1> 1- twn which ceased to be a hdh band anrl ceJlHlh holiday. dancing for entert:.un "When the school ch1l mr.n!. dt'en had SL. Patrick's La. t nir.!lll thl'r held a Da_v off, there were more f!ir.n':'-r att-t!nd.NI bv 1 b~ OCCA.5iOns planned," he Got· t>rnor rS1r C0iht said. Ha nnah•, Arrhh1,ohop Father McDermot,t h ad CEILIDH FLING for Joann• Cunningham, 19, o R ll;"Oh rind the !ii·~t SP{'fl' no spec.1al plans for to Morningside, one of t he dancers in thG Ceilidh evenin T-Rr\· to '.h e fn'-h F,ml):.. ~ day, and admitted he at the Queenslond Irish Association• Elizabeth Stre ~n' i '.'l,tr ,l ,:Hjn Carroll. had e\'en forgotten to rooms tonight. Joanne is the $tote adult Ceilidh doni:: Other SL P:1 \ rl('k'!- Dai· me n tion St. Pat-rick's i1tg champion. Cf'lenr~[illll,S WNll
1999
2000
2001
The Pipe Band and Dancers at Glen Innes
The Australian Standing Stones in Glen Innes in the New England Tablelands of New South Wales are unique - one of the first to be built in the World for more than 3500 years. Glen Innes, settled largely by Scots in 1838, was chosen for the site of the Stones by the Celtic Council of Australia as an official national monument to honour all Celtic peoples who helped to pioneer Australia. The Standing Stones draw visitors from across Australia and overseas, and are the centre of the annual Australian Celtic Festival held in the first weekend in May. Building of the megalithic array in Centennial Park on the edge of Glen Innes - each granite stone averages 17 tonnes - resulted from a remarkable voluntary effort by a group of public spirited citizens.
The inspiration came from the Stones of Callanish on the Isle of Lewis off Scotland's west coast. Stone circles were built by the ancient Celts as calendars and later developed religious significance.
At Glen Innes in 1995
Feeling very cold in Glen Innes CENTENARY CELEBRATIONS 1998 The Pipers and Dancers welcomed Irish President Mary MacAleese to Brisbane in 1998 to attend the Centenary Celebrations of the Queensland Irish Association
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ftlasttr OF ltmJnlJJlja; Mr Eamon Gaffney - Drrl"<"tor of Queensland ln;;h Associallon ilrriD'1l l !er FAcellency Mary MtAleesc Prt"sidern Of Irelan(! :1nd Offir_1al Party is announced Gues1s are requ<:sced to s1and .J\atiOnal 2lnthmLS KAdvance Au<;tralia Fair·· "Ambr;m Na Bhfiann by Tar,1 Sing:er,; &tttt9imnmt Tara Singers (13racr His Grace M('ISl Rev Archbrshop John B111ht:rsby D D
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Ulalncsdoy Qtll ;,qmmbrr. 1gq, QIA Pipes and Drums Competition Results 1970 -1980
1r iear ~ ;,raor...... ,. . ii ,~ -:; c:-.,~ ~ - ' ,, '· :'> ,c":"1 "."""'!-. :;:,(' } ' 'J;p ' : ' '· .. ,· ' , .. · " >i ,. ' 1970 Ballymore Brisbane 3 QIA No.1 A. Easter Aust. Champ. April Tamworth 3 QIA No.1 A.DC. 2 QIA No.1 A.DC. July Lawnton 3 QIA No.2 A.DC.SS.D. DR.DM. 2 QIA No.1 A.DC.SS.D. DR.DM. 1 QIA No.1 A.DC.SS.D. Sept. Wooroolin 1 DR.DM. 19th Qld Champ. QIA No.1 A.
1971 Mackay 3 QIA No.2 DC. QIA No.2 A Easter Qld Champ. 2 QIA No.1 DC. QIA No.1 A. (QIA No .2 NP.) 1 QIA No.1 DC. QIA No.1 A". Sept. Wooroolin 1 QIA No.1 A.
1972 30-1 1 QIA No.1 A.DC.SS. DR .DM. Easter Hobart 1 QIA No.1 A. 2-4 Aust. Champ. QIA No.1 SS. 11-7 Lawnton 1 QIA No.1 A.DC.SS.D. Qld. Champ. DR.DM. 9-9 Wooroolin 1 QIA No.1 A.DC.D . DR.
26-12 Warwick 1 QIA No.1 A.DC.
1973 28-1 Newcastle 1 QIA No.1 A. East Coast Champ. QIA No.1 SS. 21-4 Maclean 1 QIA No.1 A.SM.
22-7 Lawnton 3 QIA No.2 A. QIA No.1 DC. Qld Champ. 1 QIA No.1 A.DC.SS. 15-9 Wooroolin 3 QIA No.2 A. 1 OTA No 1 A 1974 9-2 Bl~ney 3 QIA No.2 A.DC. N ..W. Champ. 1 QIA No.1 A. QIA No. 1 DC. 14-4 Melbourne QIA No.1 A. QIA No.2 A. 1974 (cont'd) 21-4 Toowoomba 3 QIA No.2 A. 1 QIA No.1 A.
6-10 Brisbane 3 QIA No.2 A. QIA No.1 A. QIA No.1 Davies Park Qld Champ. 1975 25-1 Bathurst 3 QIA No.2 A.DC. 1 QIA No.1 A.DC. 28-3 Maclean 3 QIA No.2 A.SM. (DC.NE.) 1 QIA No.1 A.SM. (DC.NE.) 4-5 Newcastle 3 QIA No.2 A.DC.SS. QIA No.1 A. East Coast Champ. QIA No.1 DR.SS.T. 5-10 Brisbane 2 QIA No.2 A.DC. Davies Park 1 QIA No.1 A.DC.7M. n1r1 f"ht1mn 1976 25-1 Canberra 2 QIA No.2 A.DC. National Champ. QIA No.1 DC. QIA No.1 A. 8-2 Orange 2 QIA No.2 A. QIA No.1 DM. QIA No.1 A. QIA No.2 NP. 6-3 Adelaide QIA No.2 A. & 7-3 Aust. Champ. 1 QIA No.1 A.SS.7M. QIA No.1 DC. 17-4 Maclean 2 QIA No .2 A.DC.SS.SM. 1 QIA No.1 A.SM.SS.7M. QIA No.1 DC. 2-5 Newcastle 2 QIA No.2 A.DC.SS. East Coast Champ. QIA No.1 A. filA No.1 DC. IA No.2 A5th) QIA No.1 T 3-10 Brisbane 1 QIA No.1 A. Ballymore l""'llrl f'ht1mn 1977 Canberra 1 QIA No.1 A.DR .D.SS. National Champ. Maclean 1 QIA No.1 A.DC.SS.D.DR. Brisbane SM. QIA No.2. 3rd Davies Park 1 QIA No.1 A.DC.SS. Dis. Qld Champ. QIA No.1 DM. 1978 2-1 Sydney 1 QIA No.1 A.DC.DM. 26-3 Sydnet Aust. hamp. QIA No.2 A. (QIA No.1 4 th A.NP.) 30-7 Durrow IR. QIA No.1 A. South East Ireland Champ. 5-8 Bridge of Allan QIA No.1 A. 12-8 Lanark QIA No.1 A. Overseas. QIA. No.1 7 th World Champ. (DM Overseas) A.
Marching & Discipline Overseas
19-8 Rothesay 2 QIA No.1 A. 26-8 Dunoon QIA No.1. yth ~~wal Chimp. A. 27-8 inburg QIA No.1 A. QIA No.1 4th A. 2-9 Shotts QiA No.1 A. European Champ. 3-9 Peebles QIA No.lDC. QIA No.1 A. QIA No.1 4 th A. 1-10 Brisbane 3 QIA No.2A.DC. Davies Park QIA No.l(A. Dis) DC.SS. QIA No.1 A. QI?! Champ. 21-10 Da by QIA No.2 A. QIA No.2 DC. South East Qld Champ. 2 QIA No.2 A.DC.SS.7M. QIA No.1 A.DC. 1979 14-4 Maclean 3 8IA ~o.2 A.SM. 1 IA o.1 A.DC.SM.DM. 8R. 30-9 Brisbane 2 IA No.2 A.DC. QIA No.1 A. Davies Park QIA No.1 DC. Qld Champ.